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Online submission: Studies in World Cinema uses Editorial Manager, a web based submission and peer review tracking system. All manuscripts should therefore be submitted online at editorialmanager.com/SWC. First time users need to register first via the ‘Register Now’ link. Once registered, you will receive an email containing your personal access codes. With these access codes you can log into the Editorial Manager website as an author and submit your manuscript for evaluation by the editors. Please make sure to consult the Author Instructions prior to submission to ensure your submission is formatted correctly.

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Proposals for book reviews and review articles should be sent to the book review editor, Amber Shields, adding 'Book Review Proposal for Studies in World Cinema' to your subject line.
Please do not send any physical books to either the publisher or the journal.
Editor-in-chief
Eva Jørholt, University of Copenhagen, Denmark

Associate Editors
Ana Grgić, Babeș-Bolyai University, Romania
Olivia Khoo, Monash University, Australia
Jeremi Szaniawski, University of Massachusetts Amherst, MA, USA

Book Review Editor
Amber Shields (PhD. University of St Andrews, UK), USA

Editorial Board
Dudley Andrew, Yale University, Connecticut, USA
Savas Arslan, Dokuz Eylül University, Turkey
Daniela Berghahn, Royal Holloway University of London, UK
Shohini Chaudhuri, University of Essex, UK
Christine Gledhill, University of Leeds, UK
Mette Hjort, University of Lincoln, UK
Dina Iordanova, University of St. Andrews, UK
Song Hwee Lim, Chinese University of Hong Kong, Hong Kong
Philippe Meers, University of Antwerp, Belgium
Hamid Naficy, Northwestern University, Illinois, USA
Lucia Nagib, University of Reading, UK
Onookome Okome, University of Alberta, Canada
Richard Peña, Columbia University, NY, USA
Ravi Vasudevan, Centre for the Study of Developing Societies (CSDS), India
CALL FOR PAPERS

Ukrainian Cinema

Since Russia invaded Ukraine on 24 February, 2022, the world’s attention has been firmly focused on Ukraine. Zhaporizhzhia, Mariupol, Kherson, and Mykolaiv have become household names as the cities they refer to are being hammered by Russian artillery. But if international news reports follow the war and consequent plight of the Ukrainian people on a day-to-day basis, the background to the conflict has only been scantily addressed.
Cinema is uniquely placed to provide an insight into the historically complex relationship between Ukraine and Russia. From Ukraine’s founding membership of the Soviet Union in 1922, through its more than 80 years under Soviet leadership until independence in 1991, cinema has born testimony to Ukraine’s ties to and attempts at distancing itself from Russia. And, after the 2014 Maidan Revolution followed by Russia’s subsequent annexation of Crimea and backing of separatists in the Donbas region, “cinema has become one of the fronts of the conflict” (Olzacka, 2022: 1).
This special issue of Studies in World Cinema aims to highlight how Ukraine’s predominantly thorny ties to Russia have informed the country’s cinema since the 1920s, while at the same time addressing the interchanges that have occurred between Ukraine and Russia within the field of cinema. In the era of Soviet montage cinema, for example, Russian directors shot some of the movement’s finest works in Ukraine: Sergei Eisenstein inscribed Odesa’s harbour in film history through Battleship Potemkin (1925), and in his Ukrainian-produced Man With a Movie Camera (1929), Dziga Vertov turned Kyiv, Odesa and Moscow into one bustling city. Meanwhile, the most famous director to come out of Ukraine, Oleksandr Dovzhenko, struggled to balance his love for Ukraine against the political requirements of a Russia-dominated, centralised film industry, as exemplified in Zvenyhora (1928) and Earth (1930).
For this issue, we are particularly interested in contributions that discuss the concepts of national and transnational cinema in relation to Ukraine. If nationalism has unquestioningly been a prominent feature or ambition of Ukrainian cinema throughout most of its history – articulated, for example, in the Soviet era through Ukrainian filmmakers’ struggle for the use of Ukrainian language, history, settings and culture in their films and, following the Maidan Revolution, through a concerted effort on the part of the Ukrainian state to boost the production of patriotic films – the idea of a national cinema is not without its inherent paradoxes when it comes to Ukraine. Russian and other non-Ukrainian filmmakers such as Romanian-born Kira Muratova and Georgian-Armenian Sergei Paradjanov have, for example, made significant contributions to Ukrainian cinema; Paradjanov’s Shadows of Forgotten Ancestors (1965) is even hailed as a milestone in Ukrainian national cinema.

We invite contributions related, but not exclusive to, the following topics:
– The Ukrainian poetic cinema of the 1960s and its particular use of folklore in bringing about a Ukrainian national cinema
– The post-Maidan state initiatives to strengthen Ukrainian cinema and “derussify” Ukrainian screens
– Ukrainian film culture at large: cinemas, audiences, journals, festivals, etc.
– The presence – and popularity? – of non-Ukrainian films in Ukraine
– Film culture in Eastern vs Western Ukraine
– Ukrainian cinema as world cinema
– The presence of Ukrainian films in Russia and elsewhere
– Russian (and other non-Ukrainian) film representations of historical and contemporary Ukrainian issues
– The institutional placement and activities of Ukrainian film studios and archives, especially the Kyiv-based Dovzhenko Film Studio
– Volodymyr Zelenskyy as a film actor, producer, script writer and/or director


Timeline for contributions:
Proposals, consisting of a title and a 3-400-word abstract + a short author’s bio, should be sent to SWC Editorial Office prior to 15 January 2023. Notifications of acceptance or non-acceptance will be sent out in February.
The submission deadline for accepted, full articles (max 8,000 words) is 1 August 2023. All contributions will undergo double-blind peer review.
Publication is planned for 2024.
Any queries should be addressed to SWC Editorial Office.


Work cited:
Olzacka, Elżbieta (2022). The Development of National Cinema in Post-Maidan Ukraine. East European Politics and Societies and Cultures, https://doi.org/10.1177/08883254221101907

International Federation of Film Archives - https://www.fiafnet.org/
European Network for Cinema and Media Studies - https://necs.org/node/120637
“The study of World Cinema is one of the most vibrant and fastest growing areas in film studies. Encompassing global art cinema as well as popular genre films and their transnational reception, World Cinema is an amorphous and critically versatile concept that invites contestation and debate. Studies in World Cinema is the first journal dedicated to this urgent critical endeavour.” - Daniela Berghahn, Professor of Film Studies, University of London, Royal Holloway
Graduate students and scholars working in the fields of cinema studies, world literature, and the visual arts.

Studies in World Cinema

A Critical Journal

Editor-in-Chief:
Eva Jørholt
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Associate Editors:
Ana Grgić
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Olivia Khoo
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Jeremi Szaniawski
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Studies in World Cinema: A Critical Journal takes a pluralistic, polycentric and non-normative approach to the notion of ‘world cinema’ understood as a dynamic and all-inclusive concept. From a wide range of methodological perspectives and with a keen eye for the imbalances of power regarding access to and visibility in the global market, the aim is to inquire into both local and global cinematic practices as well as their interaction and contact zones, in both a historical and a current context.
Against this background, the journal invites contributions from scholars across the world on topics such as traveling cinematic tropes, creolization, transnational practices, global genres, remakes and rip-offs in new contexts, translation cultures, migrant and diasporic films and film cultures, collaborations and exchanges among filmmakers, co-productions and multinational filmmaking practices and networks, film festivals, films with ‘multinational themes’ such as globalization and climate change, the impact of new technologies on the international distribution of cinema, films which engender novel senses of the world in different cinematic practices, as well as theoretical discussions of the very idea of ‘world cinema’ and related concepts such as transnational cinema, but the list is far from exhaustive.
The journal also publishes themed special issues, for which contributions are invited from guest editors.

All articles undergo a double-blind peer review prior to publication.
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